Ben Jonson in Context Edited by Julie Sanders Frontmatter More Information

Home , A Tale of a Tub (play), Chloridia, The Alchemist (play), The Case is Altered, The Devil Is an Ass, The Golden Age Restored

Cambridge University Press 978-0-521-89571-2 - Ben Jonson in Context Edited by Julie Sanders Frontmatter More information

BEN JONSON IN CONTEXT

Bringing together a group of established and emergent Jonson schol- ars, this volume reacts to major new advances in thinking about the writer and his canon of works. The study is divided into two distinct parts: the ﬁrst considers the Jonsonian career and output from bio- graphical, critical and performance-based angles; the second looks at cultural and historical contexts, building on rich interdisciplinary work. Social historians work alongside literary critics to provide a diverse and varied account of Jonson. These are less standard surveys of the ﬁeld than vibrant interventions into current critical debates. The short-essay format of the collection seeks less to harmonize and homogenize than to raise awareness of new avenues of research on Jonson, including studies informed by book history, cultural geog- raphy, the law and legal discourse, the history of science and interests in material culture.

julie sa nder s is Professor of English Literature and Drama at the University of Nottingham. She is the author of Ben Jonson’s Theatrical Republics (1998) and has recently edited The New Inn for The Cambridge Edition of the Works of Ben Jonson.

Portrait of Benjamin Jonson, by Abraham van Blyenberch

BEN JONSON IN CONTEXT

edited by JULIE SANDERS

cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Dubai, Tokyo

Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org Information on this title: www.cambridge.org/9780521895712

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2010

Printed in the United Kingdom at the University Press, Cambridge

A catalogue record for this publication is available from the British Library

isbn 978-0-521-89571-2 Hardback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

To the venture tripartite – David Bevington, Martin Butler and Ian Donaldson – with respect and thanks

Contents

List of illustrations page x Notes on contributors xiii Acknowledgements xix Note on editions used xx Chronology by Sarah Grandage xxi

Introduction 1

part i life, works and afterlife 3 1 Tales of a life 5 Richard Dutton 2 Jonson in the Elizabethan period 15 Matthew Steggle 3 Jonson in the Jacobean period 23 Andrew McRae 4 Jonson in the Caroline period 31 Martin Butler 5 Genre 39 Katharine Eisaman Maus 6 Friends, collaborators and rivals 48 Michelle O’Callaghan 7 Jonson and Shakespeare 57 Mark Robson 8 Editions and editors 65 Eugene Giddens

vii

viii Contents 9 Critical reception 73 James Loxley 10 Performance afterlives 84 Lois Potter

part ii cultural and historical contexts 95 11 London and urban space 97 Adam Zucker 12 The Globe Theatre and the open-air amphitheatres 107 Tiﬀany Stern 13 The Whitefriars Theatre and the children’s companies 116 Lucy Munro 14 The Blackfriars Theatre and the indoor theatres 124 Janette Dillon 15 Provinces, parishes and neighbourhoods 134 Steve Hindle 16 The court 144 Malcolm Smuts 17 Masques, courtly and provincial 153 Karen Britland 18 Music 162 David Lindley 19 Dance 171 Barbara Ravelhofer 20 Manuscript culture and reading practices 181 James Knowles 21 Print culture and reading practices 192 Alan B. Farmer 22 Visual culture 201 John Peacock 23 The body 212 Ben Morgan

Contents ix 24 Law, crime and punishment 221 Lorna Hutson 25 Religion 229 Julie Maxwell 26 Politics 237 Andrew Hadﬁeld 27 Rank 245 Clare McManus 28 Households 254 Kate Chedgzoy 29 Foreign travel and exploration 263 Rebecca Ann Bach 30 Domestic travel and social mobility 271 Julie Sanders 31 Money and consumerism 281 Christopher Burlinson 32 Land 289 Garrett A. Sullivan, Jr 33 Patronage 296 Helen Ostovich 34 Architecture 304 Mimi Yiu 35 Food 314 Robert Appelbaum 36 Alchemy, magic and the sciences 322 Margaret Healy 37 Clothing and fashion 330 Eleanor Lowe 38 Gender and sexuality 339 Mario DiGangi

Further reading 348 Index 360

Illustrations

For kind permission to reproduce the images and for supplying photo- graphs, the Editor would like to thank the following libraries and mus- eums: The Bridgeman Art Library; The British Library; Chatsworth House; the Courtauld Gallery; English Heritage; and the National Portrait Gallery, London; as well as the Royal Bank of Scotland Group, Sophie Baker Photography and John Higham for additional images, plus Cambridge University Press for the permission to reproduce the map which appears as Figure 12.1. Every eﬀort has been made to secure neces- sary permissions to reproduce copyright material in this work. If any omissions are brought to our notice, we will be happy to include appropriate acknowledgements in any subsequent edition.

Portrait of Benjamin Jonson by Abraham van Blyenberch © National Portrait Gallery, London. ii 5.1 Frontispiece to Ben Jonson’s 1616 folio Workes © The British Library Board, All rights reserved. Shelfmark C39.k.9. 40 6.1 Bust of Apollo, from the Apollo Room, Fleet Street. Reproduced by kind permission of The Royal Bank of Scotland Group © 2009. 54 6.2 Verses over the door in the Apollo Room, Fleet Street. Reproduced by kind permission of The Royal Bank of Scotland Group © 2009. 55 10.1 David Garrick with William Burton and John Palmer in The Alchemist by Ben Jonson, 1770, by Johann Zoﬀany (1733–1810) © Private Collection/The Bridgeman Art Library. Nationality/copyright status: English/out of copyright. 92 10.2 1977 Royal Shakespeare Company production of The Alchemist © Sophie Baker Photography, London. 93

List of illustrations xi 12.1 Map showing principal public and private theatres in London, c. 1560–1640. Reproduced by kind permission of Cambridge University Press. This map ﬁrst appeared in The Cambridge Companion to English Renaissance Drama, ed. A. R. Braunmuller and Michael Hattaway (Cambridge University Press, 1990). 108 14.1 Study of a seated actor by Rembrandt Harmenszoon van Rijn © The Samuel Courtauld Trust, Courtauld Gallery, London. 125 19.1 Inigo Jones, ﬁnal design for Prince Henry as Oberon © Devonshire Collection, Chatsworth. Reproduced by permission of Chatsworth Settlement Trustees. Photo: Photographic Survey Courtauld Institute of Art. 176 19.2 Fabritio Caroso’s circular choreography from Nobiltà di dame (1600) © The British Library Board. All rights reserved. Shelfmark case 7.d.12. 178 21.1 Title page to the third edition of The comicall Satyre of Euery Man Out of His Humor © The British Library Board. All rights reserved. Shelfmark C.57.c.22. 195 22.1 Inigo Jones, a sheet of sketches for characters in the anti- masques of Britannia Triumphans (1637) © Devonshire Collection, Chatsworth. Reproduced by permission of Chatsworth Settlement Trustees. Photo: Photographic Survey Courtauld Institute of Art. 203 27.1 Quack addressing a crowd, by Rembrandt Harmenszoon van Rijn © The Samuel Courtauld Trust, Courtauld Gallery, London. 249 30.1 Woodcut frontispiece to Henry Peacham’s Coach and Sedan, Pleasantly Disputing for Place and Precedence, 1636 © The British Library Board. All rights reserved. Shelfmark 012314.e.88. 273 33.1 Lucy (Percy) Hay, Countess of Carlisle by Pierre Lombart, after Sir Anthony Van Dyck © National Portrait Gallery, London. 303 34.1 View out from the Little Castle, Bolsover, Derbyshire. Photo: John Higham. Produced by kind permission of English Heritage. 309 34.2 Painted panels in the Little Castle, Bolsover, Derbyshire. Photo: John Higham. Produced by kind permission of English Heritage. 310

xii List of illustrations 34.3 Panel in the Pillar Chamber in the Little Castle, Bolsover, Derbyshire. Photo: John Higham. Produced by kind permission of English Heritage. 310 38.1 Old man with a long coat and a large hat by Rembrandt Harmenszoon van Rijn © The Samuel Courtauld Trust, Courtauld Gallery, London. 338

Contributors

robert appelbaum is Senior Lecturer in Renaissance Studies at Lancaster University. He is the author of Aguecheek’s Beef, Belch’s Hiccup, and Other Gastronomic Interjections: Literature, Culture, and Food Among the Early Moderns, winner of the 2007 Roland H. Bainton Prize. r ebecc a a n n bach is Professor of English at the University of Alabama at Birmingham. She is the author of Shakespeare and Renaissance Literature before Heterosexuality (2007) and Colonial Transformations: The Cultural Production of the New Atlantic World, 1580–1640 (2000). k a r en br itl a nd is Associate Professor at the University of Wisconsin- Madison. She is the author of Drama at the Courts of Queen Henrietta Maria (Cambridge University Press, 2006) and is an associate editor on The Cambridge Works of Ben Jonson. christopher burlinson is Fellow in English at Jesus College, Cambridge. His recent publications include Allegory, Space, and the Material World in the Writings of Edmund Spenser (2006) and, with Andrew Zurcher, Edmund Spenser: Selected Letters and Other Papers (2009). m artin butler is Professor of English Renaissance Drama at the University of Leeds. With David Bevington and Ian Donaldson, he is General Editor of The Cambridge Edition of the Works of Ben Jonson (forthcoming, 2010). His most recent book is The Stuart Court Masque and Political Culture (Cambridge University Press, 2008). k ate chedgzoy is Professor of Renaissance Literature at Newcastle University. She is co-editor, with Susanne Greenhalgh, of Shakespeare and the Cultures of Childhood, a special issue of the journal Shakespeare (2006), and, with Susanne Greenhalgh and Robert Shaughnessy, of

xiii

xiv Notes on contributors Shakespeare and Childhood (Cambridge University Press, 2007). She is currently working on children and cultural production in the early modern period. m a r io dig a ngi is Professor of English at Lehman College and the Graduate Center (CUNY) and is the author of The Homoerotics of Early Modern Drama (Cambridge University Press, 1997). He has edited Romeo and Juliet and A Midsummer Night’s Dream for the Barnes & Noble Shakespeare, and The Winter’s Tale for Bedford’s Texts and Contexts series. He is currently completing a study of sexual types in early modern drama. ja net t e dil l on is Professor of Drama at the University of Notting- ham. Her recent publications include The Cambridge Introduction to Early English Theatre (Cambridge University Press, 2006) and The Cambridge Introduction to Shakespeare’s Tragedies (Cambridge University Press, 2007). She is currently working on a Leverhulme-funded research project on space and place in medieval and early modern court performance. r ich a r d dut ton is Humanities Distinguished Professor and Chair of the Department of English at Ohio State University. He has written three books on Jonson, including Ben Jonson, ‘Volpone’, and the Gunpowder Plot (Cambridge University Press, 2008). His most recent publication is A Handbook on Early Modern Theatre (2009). a l a n b. fa r mer is Assistant Professor of English at the Ohio State University. He has published widely on Renaissance drama and the English book trade and is co-editor, with Adam Zucker, of Localizing Caroline Drama: Politics and Economics of the Early Modern English Stage, 1625–42 (2006). He is currently completing a monograph on playbooks, newsbooks and the politics of the Thirty Years’ War in England. eugene giddens is Skinner-Young Professor in Shakespeare and Renaissance Literature at Anglia Ruskin University. He is one of the general editors on the Arts and Humanities Research Council-funded Complete Works of James Shirley project. He is also an associate editor on The Cambridge Edition of the Works of Ben Jonson. He is currently preparing a Revels Plays edition of James Shirley’s Hyde Park. sarah grandage is a postgraduate teaching fellow in the School of English Studies at the University of Nottingham. Her research interests centre on the intersection of language and drama.

Notes on contributors xv a ndr e w h a dfi el d is Professor of English at the University of Sussex. He is the author of a number of works on early modern literature and culture including Shakespeare and Republicanism (Cambridge University Press, 2005) and Shakespeare and Renaissance Politics (2003). He is currently working on a biography of Edmund Spenser. m a rg a r et he a ly is Reader in English and Director of the Centre for Early Modern Studies at the University of Sussex. She is currently completing Shakespeare, Alchemy and the Creative Imagination: ‘Sonnets’ and ‘A Lovers Complaint’. s t e v e hindl e is Professor of History at the University of Warwick. He is the author of The State and Social Change in Early Modern England, 1550–1640 (2000) and On the Parish? The Micro-politics of Poor Relief in Rural England, c. 1550–1750 (2004). He is currently editor of the Economic History Review. l or na hu tson is Berry Professor and Head of the School of English at the University of St Andrews. Her books include The Usurer’s Daughter: Male Friendship and Fictions of Women in Sixteenth Century England (1994) and The Invention of Suspicion: Law and Mimesis in Shakespeare and Renaissance Drama (2007). ja m e s k now l e s is Professor of Medieval and Renaissance Literature and Head of the School of English at University College Cork. He has edited Four City Comedies (2001) and The Key Keeper (2002) (Jonson’s Entertainment at Britain’s Burse, the extant manuscript of which he iden- tiﬁed). He has also contributed several of the editions of masques and entertainments for The Cambridge Edition of the Works of Ben Jonson. dav id l indl e y is Professor of Renaissance Literature, University of Leeds. Recent publications include an edition of Shakespeare’s The Tempest for New Cambridge Shakespeare and Shakespeare and Music (2006). Editions of eleven Jonson masques will be included in the forthcoming The Cambridge Edition of the Works of Ben Jonson. ele a nor low e is Lecturer in Drama at Oxford Brookes University. She has edited two plays for the Arts and Humanities Research Council- funded project, The Complete Works of Richard Brome Online, as well as working as the post-doctoral research fellow on that project for three years. She is currently preparing a critical edition of George Chapman’s A Humorous Day’s Mirth.

xvi Notes on contributors james loxley is Senior Lecturer in the School of Literatures, Languages and Cultures at the University of Edinburgh. He is the author of Performativity (2007) and The Complete Critical Guide to Ben Jonson (2002). He is currently working on a manuscript relating to Jonson’s walk to Scotland (in collaboration with Julie Sanders) and has a forthcoming book on Shakespeare, Jonson and the Claims of the Performative with Mark Robson. k ath a r ine eisa m a n m aus is the James Branch Cabell Professor of Renaissance Literature at the University of Virginia. Among many other works, she was the author of Ben Jonson and the Roman Frame of Mind (1985) and a co-editor of The Norton Shakespeare (1997; 2nd edn, 2008). She is currently working on The Oxford English Literary History, 1603–60. ju l i e m a x w el l worked on Jonson during a Junior Research Fellowship at New College, Oxford. Her novel, You Can Live Forever (2007), was inspired partly by Jonson’s play Bartholomew Fair. clare mcm anus is Reader in English Literature at Roehampton University, London. She publishes on early modern women’s performance and the theatrical woman. She is author of Women on the Renaissance Stage (2002) and editor of Women and Culture at the Courts of the Stuart Queens (2003) and is currently editing John Fletcher’s Island Princess. andrew mcr a e is Professor of Renaissance Studies at the University of Exeter. His publications include Literature, Satire and the Early Stuart State (Cambridge University Press, 2005) and Literature and Domestic Travel in Early Modern England (Cambridge University Press, 2009). ben morgan is Williams Fellow and Tutor in English at Exeter College, Oxford. lucy munro is Senior Lecturer in English at Keele University. Her publications include Children of the Queen’s Revels: A Jacobean Theatre Repertory (Cambridge University Press, 2005) and an edition of Pericles for William Shakespeare: Complete Works, edited by Jonathan Bate and Eric Rasmussen (2007). michelle o’call agh an is Reader in the Department of English and American Literature, University of Reading. She is the author of The English Wits: Literature and Sociability in Early Modern England

Notes on contributors xvii (Cambridge University Press, 2007) and Thomas Middleton, Renaissance Dramatist (2009). helen ostov ich is Professor of English at McMaster University. She is founding editor of the journal Early Theatre and a general editor of The Revels Plays, as well as the electronic series, Queen’s Men Editions. She edited The Magnetic Lady for The Cambridge Edition of the Works of Ben Jonson, The Late Lancashire Witches and A Jovial Crew for The Complete Works of Richard Brome Online and co-edited a volume of essays, Locating the Queen’s Men, 1583–1603: Material Practices and Conditions of Playing (2009). john pe acock was Reader in English at Southampton University, where he is now a visiting fellow. His monograph The Look of Van Dyck: The ‘Self-Portrait with a Sunﬂower’ and the Vision of the Painter was published in 2006. At present he is writing a book on Van Dyck’s aristocratic portraits and ideas of nobility in the early modern period. lois pot ter is Ned B. Allen Professor Emeritus of the University of Delaware. Her most recent book is the Shakespeare in Performance volume on Othello (2002), and she has written many theatre reviews for The Times Literary Supplement and Shakespeare Quarterly. bar bar a r avelhofer is Reader in English Literature at Durham and a research associate of the Centre for History and Economics, Cambridge. Her most recent book, The Early Stuart Masque: Dance, Costume, and Music (2006), studies illusionistic theatre of the Renaissance with documentary evidence from Germany, France, Italy and the Ottoman Empire. m a r k robson is Associate Professor at the University of Nottingham. His recent publications include The Sense of Early Modern Writing (2006) and Stephen Greenblatt (2008). Forthcoming publications include (with James Loxley) Shakespeare, Jonson and the Claims of the Performative (2010). julie sa nder s is Professor of English Literature and Drama at the University of Nottingham. She is the author of Ben Jonson’s Theatrical Republics (1998) and has recently edited The New Inn for The Cambridge Edition of the Works of Ben Jonson. m a l col m sm u ts is Professor of History at the University of Massachusetts Boston and North American head for the Society for Court Studies. His

xviii Notes on contributors publications include Court Culture and the Origins of a Royalist Tradition in Early Stuart England (1987) and Culture and Power in England, 1585– 1685 (1999). m at thew steggle is Reader in English at Sheﬃeld Hallam University. His publications include Wars of the Theatres: The Poetics of Personation in the Age of Jonson (1998) and Laughing and Weeping in Early Modern Theatres (2007). He has co-edited, with Eric Rasmussen, Cynthia’s Revels for the forthcoming The Cambridge Edition of the Works of Ben Jonson. tiffa n y ster n is Professor of Early Modern Drama at Oxford University and the Beaverbrook and Bouverie Fellow and Tutor in English Literature at University College, Oxford. She is the author of Rehearsal from Shakespeare to Sheridan (2000), Making Shakespeare (2004), Shakespeare in Parts (2007, co-written with Simon Palfrey, and winner of the 2009 David Bevington Award for Best New Book in Early Drama Studies) and Documents of Performance in Early Modern England (Cambridge University Press, 2009). g a r r et t a . su l l i va n, jr is Professor of English at Pennsylvania State University. He is the author of The Drama of Landscape: Land, Property, and Social Relations on the Early Modern Stage (1998) and Memory and Forgetting in English Renaissance Drama: Shakespeare, Marlowe, Webster (Cambridge University Press, 2005). He has co-edited, with Mary Floyd-Wilson, Environment and Embodiment in Early Modern England (2007). mimi y iu is Assistant Professor of English at Georgetown University. She is currently working on a book manuscript entitled Building Platforms: Staging the Architecture of Early Modern Subjectivity. a da m zuck er is Assistant Professor of English at the University of Massachusetts, Amherst. He is the co-editor, with Alan B. Farmer, of Localizing Caroline Drama: Politics and Economics of the Early Modern Stage, 1625–42 (2006). His current book project is entitled The Places of Wit in Early Modern Comedy (forthcoming).

Acknowledgements

The editor would like first and foremost to thank the contributors to this volume. It has been a huge undertaking made lighter and more enjoyable by the wit and good grace of the contributors. I could not have seen the project through its final few months without the sterling assistance of my research assistant, Sarah Grandage, who worked above and beyond the call of duty and to whom endless thanks are due. Any remaining errors are wholly my responsibility. I am grateful to the University of Nottingham’s School of English Studies, in particular the then Head of School, Dominic Head, who made that research assistance possible, and to all my colleagues who have been tirelessly supportive and encouraging at key moments in the process. The volume was commissioned by Sarah Stanton at Cambridge University Press, and she has remained wholly engaged in the process from start to finish. I am deeply grateful for her insight and support at all times. It is something of an honour that these chapters will appear in print in close proximity to the monumental new Cambridge University Press edition of Jonson’s works. It is a project on which I consider myself as having served a remarkable apprenticeship, and I am glad to have the opportunity to thank the three general editors, David Bevington, Martin Butler and Ian Donaldson, here by means of the dedication not only for their work on that project but also for their support and encouragement at numerous stages of my career in the considerable shadow of Ben Jonson. Finally, there is the man behind the scenes. To John Higham, thanks and love as always.

xix

Note on editions used

The edition of Jonson referred to throughout, unless otherwise indicated, is The Cambridge Edition of the Works of Ben Jonson, general editors David Bevington, Martin Butler and Ian Donaldson. The edition is due to be published by Cambridge University Press in 2011, and I am grateful to the editors and the Press for advance access to the edition at proof stage.

Chronology

Date Jonson’s life and works Events 1572 Ben Jonson born. 1587 Rose Theatre built. 1588 Defeat of Spanish Armada. 1589 James VI travels to Denmark to marry Princess Anna of Denmark. 1595 Swan Theatre built. 1596 Second Blackfriars Theatre built. 1597 The Case is Altered performed. The Isle of Dogs [lost play] Isle of Dogs controversy. performed. 1598 Every Man In His Humour Material from The performed. Theatre transported for Jonson imprisoned over death of reconstruction as Globe actor Gabriel Spencer in a duel. Theatre. Narrowly escapes hanging. Branded with T for Tyburn. 1599 Every Man Out of His Humour performed. 1600 Cynthia’s Revels (The Fountain of Fortune Theatre built. Self-Love) performed? Second Blackfriars Theatre ﬁrst used. 1601 Poetaster, or The Arraignment Essex rebellion (fails). performed. Every Man In His Humour Quarto published.

xxi

xxii Chronology 1602 Additions to The Spanish Tragedy written? 1603 A Particular Entertainment at Death of Elizabeth I. Althorp. Accession of James VI of Sejanus His Fall performed? Scotland as James I of England. 1604 James VI adopts title ‘King of Great Britain, France and Ireland’. 1605 The Masque of Blackness Gunpowder Plot. performed. Eastward Ho! performed. 1606 Hymenaei performed. ?Whitefriars Theatre built Volpone performed. (not in use until 1609). 1607 An Entertainment at Theobalds John Smith settles performed. Jamestown, Virginia. 1608 The Masque of Beauty performed. The Haddington Masque performed. 1609 The Masque of Queens performed. The Entertainment at Britain’s Burse performed. Epicene, or The Silent Woman performed. 1610 The Alchemist performed. 1611 Oberon, The Fairy Prince performed. Love Freed From Ignorance and Folly performed. Catiline His Conspiracy performed. 1612 ‘To Penshurst’ written. Death of Henry, Prince of Wales. 1614 Bartholomew Fair performed. 1615 Mercury Vindicated from the Inigo Jones appointed Alchemists at Court performed. Surveyor of the King’s Works. 1616 The Golden Age Restored performed. Death of Shakespeare. Every Man In His Humour folio published.

Chronology xxiii Epigrams published. The Forest published. The Devil is an Ass performed. Christmas His Masque performed. 1617 The Vision of Delight performed. James VI and I visits Lovers Made Men performed. Scotland. 1618 Pleasure Reconciled to Virtue performed. For the Honour of Wales performed. Jonson’s walk to Scotland. 1619 Informations to William Death of Queen Anna. Drummond (published 1711). 1620 News From the New World Discovered in the Moon performed. The Cavendish Christening Entertainment performed. 1621 Pan’s Anniversary, or The Shepherd’s Holiday performed. The Gypsies Metamorphosed performed. 1622 The Masque of Augurs performed. 1623 Time Vindicated to Himself and to His Honours performed. 1624 Neptune’s Triumph for the Return of Albion planned but unperformed. 1625 The Fortunate Isles and Their Death of James VI and I; Union performed. accession of Charles I. Charles I marries Henrietta Maria. 1626 The Staple of News performed. 1629 The New Inn performed. Charles dissolves parliament: beginning of eleven-year period of ‘personal rule’ without parliament. 1631 Love’s Triumph through Callipolis performed. Chloridia performed.

xxiv Chronology 1632 The Magnetic Lady performed. 1633 A Tale of a Tub performed. Charles I visits Scotland for The King’s Entertainment at his coronation. Welbeck performed. 1634 Love’s Welcome at Bolsover performed. 1637 The Sad Shepherd written (unﬁnished at time of death). Ben Jonson dies. (The Underwood and Timber, or Discoveries published in 1640–41.)